An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
From September 7h to October 21st, the main gallery of Galerie Lelong in Chelsea will be covered with a massive carpet. The bright and colorful carpet is made up of dozens of antique carpets sewn together and invites viewers to walk on it. On top of the carpet are embroidered words written in various languages including Chinese, Japanese, and English and are all expressions about women.
Lin Tianmiao (林天苗) became one of the first Chinese women to establish herself as an internationally respected contemporary artist.
Her initial art training came from her father, from whom she learned calligraphy and traditional painting techniques. Then, having gained a BFA from Capital Normal University in Beijing in 1984, she and her husband—the artist Wang Gongxin—migrated to New York City in 1988 where they remained until 1994. Tianmiao has subsequently stressed the key significance of her time in New York in shaping her artistic attitudes. While there, Tianmiao designed textiles and in 1989 she attended The Art Students League. On her return to Beijing, she converted her home into an open studio that became one of the key venues for so-called Apartment Art. It was at this time that Tianmiao began making work involving winding thread around everyday objects. She has related this technique to childhood memories of helping her mother make clothes for her family, and the use of thread in various ways became a core characteristic of her mature work.
Her work has expanded into sculpture, photography, video and large-scale installation. She has repeatedly used images of the naked female body and, in a series of 'Body Language' sculptures, replicas of human bones.
Among Tianmiao's core concerns are the disappearance of tradition and the dehumanising pressures of contemporary society. Despite the materials and subject matter of her work, Tianmiao has rejected the suggestion that she is a feminist artist. When talking to Ocula Magazine in 2017, she explained that 'the term "feminism" is borrowed from the West.' She added that 'using a woman's perspective is something I've worked through now.'
The exhibition Bound Unbound at Asia Society Museum in New York (7 September 2012–27 January 2013) was crucial in establishing Lin Tianmiao's international reputation, and her work is now in the permanent collections of museums across Asia, Australia and the United States. She lives and works in Beijing.
Galerie Lelong & Co. is pleased to present Protruding Patterns, a solo exhibition of work by Beijing-based artist Lin Tianmiao that will transform the main gallery with woven carpets. For the first time, viewers are encouraged to touch Lin's intricate, labor-intensive work with textiles and thread.
Over the past six years, Lin has collected around 2,000 words and expressions about women in various languages. Pulling from popular novels, newspapers, the internet, and colloquial dialogues, she has gathered phrases such as "divinité," "Mori girl," and "leftover women." Some are predictably derogatory to women, demonstrating the continued ubiquity of sexist attitudes reinforced by language, while others are directly recovered from obsolescence, representing the nuanced mix of confusion, humor, self-deprecation, and empowerment that accompanies the shifting consciousness of women. This lexicon is woven into thickly raised wool forms so that viewers can feel the visceral and literal protruding patterns while touching and walking on the carpets.
By making visible and tangible the various definitions of womanhood that transcend cultures and time, Lin creates an immersive platform to explore how women feel within their evolving societal roles. Meanwhile, the examination of feminine semiotics highlights the disparity that still remains between much-advocated gender equality and culturally embedded gender discrimination. Despite the subject matter of the work, Lin Tianmiao eschews the typical, Western label of a "feminist artist" given that the notion of feminism emerged from different social and cultural contexts within China and abroad.
The exhibition will also feature a selection of new paintings and sculptures in the adjacent gallery, which continue Lin's exploration of "body language." Sculptures combining bones with ordinary tools create visual puns, akin to her More or Less the Same (2011) series. In one of the new sculptures, bones form the underside of a clothing hanger, while in another a thermometer is embedded into a bone. These contradictory materials blur the line between binaries such as subject and object, yin and yang, and interior and exterior, challenging the distinction between normal and abnormal. For Lin, bones eliminate the boundaries of social classes, cultures, political ideologies, and species in light of a shared mortality.
Lin Tianmiao (b. 1961) is among the first generation of Chinese contemporary artists to receive international recognition. The work Protruding Patterns was shown at the Ullens Center for Contemporary Art, Beijing (2014); Long Museum, Shanghai (2016); and Minsheng Art Museum, Shanghai (2016). __Protruding Patterns is Lin's first major solo exhibition in New York since 2012, when she presented Bound Unbound at the Asia Society Museum and Badges at Galerie Lelong & Co. This fall, Lin will also be featured in Art and China after 1989: Theater of the World at the Solomon R. Guggenheim Museum, New York. Lin will present a solo exhibition at the Shanghai Museum of Glass, which will simultaneously feature her work in the group exhibition Annealing. In Spring 2018, Lin will also present a solo exhibition at the Bund Art Museum, Shanghai. Her work is in many prestigious institutions worldwide including the Brooklyn Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Centre Pompidou, Paris; Hong Kong Museum of Art; Museum of Modern Art, New York; National Art Museum of China, Beijing; National Museum of Australia, Canberra; M+ Museum, Hong Kong; Seattle Art Museum; Shanghai Museum of Glass; Sherman Foundation, Sydney; and the Ullens Center for Contemporary Art, Beijing.
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Although she has not had a major solo show here since the extraordinary Bound Unbound closed at Asia Society in 2013, Lin Tianmiao is currently receiving a good deal of attention in New York City. Her solo exhibition Protruding Patterns (featuring the remarkable large-scale 2014 work of the same title) was at Galerie Lelong & Co., New York,...
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